16X Manual Lens Questions

[Dean Sensui]

Alex...

Don't bother with the auto lens if you can get a package with the manual lens.

I acquired a manual lens and use it exclusively. Got tired of the focusing problems of the stock lens.

Resolution seems about the same. There's more weight, but that's actually an advantage for handheld shots. The added mass helps reduce shake a bit.

If you absolutely positively need an auto lens, let me know as I have one availble for sale.

Dean Sensui
Base Two Productions

[Bill Edmunds]

Don,
Do you remember what sharpness settings you were using for the XL1S in these pics? Or were they shot at "normal" sharpness settings?

<<<-- Originally posted by Don Berube : Iv'e added three more (b-i-g) images, comparing the sharpness between the PANASONIC AJ-DVX100 and the trusty 'ol CANON XL1S with 16X Manual/ Servo lens. The 16:9 letterbox mask on the DVX100 images are generated in-camera, except for the AJ-DVX100 image #3 in "5.jpg"... that one was applied in PhotoShop. On the XL1S images I added the same mask via PhotoShop, much in the same way you would with any decent NLE. The last image "7.jpg" shows the differences in the way each camera handles color.
These shots were taken with each camera in their own version of "Full Auto" mode.
***Again, if you are viewing these images via Windows, turn OFF "Fit Image To Screen" in Internet Exploder.

http://noisybrain.com/SDTV/ISII_vs_manualservo/5.jpg
http://noisybrain.com/SDTV/ISII_vs_manualservo/6.jpg
http://noisybrain.com/SDTV/ISII_vs_manualservo/7.jpg

- don -->>>

[Don Berube]

Normal middle default was used. Sorry for the short reply, I'm typing this on my Treo 600 - still in San Fran at the Moscone Center for Macworld.

[Torrey C. Harris]

does anybody know what size filter to use in this lens? 72 mm

[Jean-Philippe Archibald]

Yes, 72mm like on the auto IS II stock lens.

[Torrey C. Harris]

thanks

[Rob Lohman]

I went to the CanonDV site and went to the XL1s,
accessories, lenses and then the manual one. You'll arrive at
this page which lists the complete technical specifications,
including the filter size:

Filter Diameter: 72mm, P0.75 (hood filter diameter: 82mm, P0.75).

Also see Ken's great article about the lens here @ DVi

[Ken Tanaka]

Yes, Torrey, it's also a 72mm diameter just like the 16x Auto lens.

[Ken McDaniel]

I'll soon be purchasing the 16X manual lens for my XL1s, with the intention of using it it for shooting feature-style (dramatic) setups. For those who've been using this lens for a while, do you ever use a measuring tape for establishing focus distance to the subject, then dialing it in on the lens barrel (as is the standard way of doing it on a film set)? If so, what point on the XL1s camera body do you use as the center of focus, equivalent to the "film plane"? Is there a mark provided on the camera? (I haven't seen one.) It seems that most users speak of establishing critical focus with a BW CRT viewfinder, or an external monitor. But is anyone actually measuring it with a tape?

Thanks...

[Rick Bravo]

The "film plane" would be established at the CCD block.

All professional film cameras have a small hook attached at the film plane to accomodate a measuring tape. The XL cameras do not have that option and they do not have a mark indicating where the film plane is. I am sure that if you needed to, it would not be too hard to add one to the XL body.

On film shoots, the focus is never, ever, set based solely on a measuring tape. The measuring tape is used as a reference by the Focus Puller. While using wide lenses, it would be OK to use the tape as the DOF will carry give or take a few inches.

When establishing critical focus, the Focus Puller will do a focus check through the lens and mark the barrel accordingly. This will usually be double-checked by the Camera Operator just prior to rolling, as well.

Once the Director yells "ACTION", and the actors and camera start moving, the rest of the focus process is carried out using PFM...for folks not acquainted with this highly technical term, it is an acronym for Pure F*****g Magic!

The B&W eyepiece is the way to go for critical focus. It is extremely sharp.

Unless you are actually pulling focus and not operating, there is really no need to measure with a tape.

RB

[Ken McDaniel]

Rick...

Thanks for the excellent reply. It was something I was wondering about, and whether anyone bothered with it. I'll be purchasing the 16X manual lens this week.

[Paul Larche]

I recently purchased a used Canon 16x manual lens for my Xl2. It did not come with a manual and I can't find one on Canon's web site. Can someone tell me if there is a recommended method of setting up the back focus.

[Jeff Donald]

Do a search, the methods have been discussed many times.

[Tony Davies-Patrick]

I've recently got back from a full day of testing the Optex Wide angle adapter matched with the Canon 16 X manual lens. My apprehensions about using an adapter - instead of the 3X lens - soon disappeared when I looked closely through all the footage on a big TV screen later that same evening.

My primary concern was sharpness, and I must say that the Optex + 16X produce a superb full-frame picture which is almost undetectable from the 16 X manual without the adapter.

My second concern was that I would need to be constantly adjusting the back-focus screw each time I moved in close or changed positions. This actually wasn't the case, and the Optex gave such an increased depth of field, that I could take some wide-angle scenery footage on a tripod, followed by a sequence of footage interviewing a fisherman beside the river (off the shoulder), and then cut in tight to do a series of takes of only his hands tying knots in the line - all without having to re-adjust back-focus. Sharpness was kept to a high level throughout.

The heavier setup of 16X manual plus Optex (when compared to a 3X lens alone) was not the problem I thought it would be, and in fact it actually helped me maintain stability (combined with the MA-200 secured to the back of the XL1s) during handheld sequences. My partner, on watching the end-of-day footage played back on a big TV screen, actually commented that she thought my handheld footage with the 16X + Optex was filmed while secured to a sturdy tripod…so I’m more than pleased with results!

To cut a long story short, I am very pleased with the quality of the Optex lens matched with the 16X manual lens. The need to sometimes re-adjust the 16X back-focus when you remove the Optex and use the 16X on its own, can be a negative aspect I suppose, but the positive side of this is that at least the manual lens allows very fine adjustments for the setup - something the AF 16X or 3X lenses do not.

Probably the only visual downside of the Optex, was that I noticed the occasional mark showing on the TV screen during sequences when harsh sunlight was streaming in from the side. A later thorough check of my Optex front and rear glass revealed some very minor marks on the large front element (the Optex was bought second-hand as part of a package and I hadn’t noticed these on purchase). For most of the filming, these minute marks do not of course show up, and a very clean, sharp image is maintained.
Results have now made me want to continue to use the Optex for the main filming in USA, but the thought of brighter light during summer could cause a problem during some extreme conditions.
The use of a polarizer - like I often use with 16X lens on its own could help a little to avoid harsh light or reflections bouncing off those minor glass marks, but unfortunately, finding a polarizer filter to fit the huge front element of the Optex is not really an option. The Optex does have a small lip surrounding the outer rim that helps prevent some sidelight, but a true lens shade is really needed to stop almost all harsh light from skimming across the front glass.

The Optex does have a front filter thread, so I may be able to find a very large hood somewhere to screw onto it. My huge 122mm filter that fits the front of my 600mm lens is slightly too large, so I'd think the thread is around 100mm-110mm on the Optex. I was hoping that the large secondary clip-hood on my 300mm f/2.8 would fit the Optex, but it is too loose (and could cause it to vignette). Has anybody any idea of where I can find a super-large lens shade to fit the Optex? I tried phoning Optex, but they do not have anything that fits.

[Richard Alvarez]

Thanks for the report, most encouraging.